VITA LES KRIMS - Buffalo State College

E D U C A T I O N 

V I T A 

L E S K R I M S 

“Ralph Lauren’s Spring Line with Cohens, 1985.” From series: “The Decline of the Left.” 

Buffalo State College, 1300 Elmwood Avenue, Buffalo, NewYork, 14222 

☎ (716)878-4406 (College) 

krimslr@buffaloState.edu (academic) & les.krims@gmail.com (business) 

leskrims.com (commerce website) 

1967 Master of Fine Arts, Pratt Institute, Brooklyn, New York. 

1964 Bachelor of Fine Arts, The Cooper Union, New York, New York. 

T E A C H I N G P O S I T I O N S 

1969 Professor, State University of New York College at Buffalo, Buffalo, NY. 

1967 Instructor, Rochester Institute of Technology, Rochester, NY. 

1965 Assistant Instructor in Printmaking and Photography, Pratt Institute, Brooklyn, NY. 

E X H I B I T I O N S 

2005 

• Nues & Nus (group), Musée Municipal Église Saint Nazaire, Bourbon Lancy, France, 

July 2005. 

2004 

• Center of Things: A Tribute to Harold Jones (group), Center for Creative Photography, The 

University of Arizona, Tucson, Arizona, April 2004. 

• Enthüllt/Exposed (group), Städtische Museen Heilbronn, Heilbronn, Germany, March 

2004. 

• Les Krims, Fact or Fiction (one man), The Laurence Miller Gallery, New York, NY, March 

2004.

Vita: Les Krims page 2 

• La Collection M+M Auer, une Histoire de la Photographie (group), Musée d’art et d’histoire 

Genève, Switzerland, April 2004. 

• Street Credibility (group), The Museum of Contemporary Art, Los Angeles, CA, April 

2004. 

2003 

• Venus in Furs (group), Neue Galerie am Landsmuseum Joanneum, Graz, Austria, April 

26—August 24, 2003. 

• Global Village: The 60s (group), The Montreal Museum of Fine Arts, Montreal, 

Quebec, October2, 2003—January 18, 2004. 

• The F.C. Gundlach Collection (group), Deichtorhallen, Hamburg, Germany, 

October 28, 2003—February 1, 2004. 

2002 

• HEXENWAHN, Ängste der Neuzeit (group), Deutsches Historisches Museum, 

Berlin, Germany, May-August 2002. 

• The Photographers Edge (group), Carl Solway Gallery, Cincinatti, Ohio, 2002. 

• REVELATION: Representations of Christ in Photography (group), Hotel de Sully, 

Paris, France; the Israel Museum, Jerusalem, Israel, 2002. 

• Les Krims (one man), Forum de l’Image, Toulouse, France, March 2002. 

• The Peter C. Bunnell Collection (group), Princeton University Art Museum, Princeton, NJ, 

May 2002. 

2001 

• Photographs for Sick Kids (group), The Royal Hospital for Sick Children, 

Edinburgh, Scotland. 

2000 

• Making Light: Wit and Humor in Photography (group), The Francis Lehman Loeb Art 

Center, Vassar College, Poughkeepsie, NY. 

• Le nu photographié (group), Galerie d’Art du Consul Général des Bouche-du-Rhone, Aixen-Provence, 

France. 

1999 

• Digital Frontiers, Photography’s Future at Nash Editions (group), Monterey Museum of Art, 

Monterey, CA. 

• Les Krims, The Experiment of Simulacrum (one man), Macedonian Museum of 

Contemporary Art, Greece. 

• The Century of the Body: Photoworks 1900-2000 (group), Culturgest, Lisbon, Portugal. 

1998 

• Private Fictions (group), Fundacio Joan Miro, Barcelona, Spain. 

• Fétiches & Fétichismes (group), Passage de Retz, Paris, France. 

• Sur La Tête (group), The Witkin Gallery, New York, NY. 

• An American Century of Photography: From Dry-Plate to Digital (group), traveling 

exhibition from the Hallmark Photographic Collection, Kansas City, MO.


• Digital Frontiers: Photography’s Future at Nash Editions (group), George Eastman House, 

Rochester, NY. 

”While Standing Beside the Memphis Belle, Astonished and In Awe, People Make Cash Offerings as an F-16 Fighter…2003.“ 

1997 

• Oh Boy! (group), The Witkin Gallery, New York, NY. 

• The View from Denver (group), Museum Moderner Kunst Stiftung Ludwig (group), 

Vienna, Austria. 

• Dérision & Raison (group), Musée de la photographie à Charleroi, Charleroi, Belgium. 

1996 

• A Celebration of 25 Years of Light Gallery (group), International Center of Photography 

Midtown, New York, New York. 

• Der zerteilte Blick (group), DuMont Kunsthalle (Blaue Halle), Köln, Germany. 

• Maison Européenne de la Photographie (innaugural exhibition of this new museum), Paris, 

France. 

• Kobe Aid Fund Exhibition (group), Kobe/Tokyo, Japan. 

1995 

• VI Biennale Internazionale de Fotografia (group), Torino, Italy. 

• From Light to Dark: The Look of Photographic Prints (group), National Gallery of Canada, 

Ottawa, Canada. 

• Silver Eye Center for Photography Benefit Fine Photography Auction/Exhibition(group), Silver 

Eye Center for Photography, Pittsburgh, PA. 

1994 

• Fotodifusion (group), Torino, Italy. 

• the camera i, Photographic Self-Portraits from the Audrey and Sidney Irmas Collection (group), 

Los Angeles County Museum of Art, Los Angeles, California. 

• Centre de la Photographie de Genève, 1984–1994 (group), Galleria Gottardo, Lugano, 

Switzerland. Switzerland. 

• Allan Chasanoff Photographic Collection: Tradition and the Unpredictable (group), Museum 

of Fine Arts, Houston, Texas. 

• Interiors: A Metaphysical Construct (Lucien Clergue, George Krause, Les Krims, Ted 

Orland, Jerry Uelsmann, Jerald C. Maddox), Montgomery College, Rockville, 

Maryland. 

1993 

• Gli anni ‘70 lo sguardo, la foto (group), Galleria Civica, Modena, Italy.


• Fine Arts Faculty Exhibition (group), Buffalo State College, Buffalo, New York. 

• Les Krims (one man), Centre de la Photographie Geneve, Geneva, Switzerland. 

“Five Year Old Feminist Trying On Tits for the First Time, 1993.” From series: The Decline of the Left. 

1992 

• Photographic Resource Center Benefit Exhibition (group), an invitational benefit auction and 

exhibition, Boston, MA. 

1991 

• A Sense of Humor: Les Krims (one man), New Image Gallery, James MadisonUniversity, 

Harrisonburg, Virginia. 

1990 

• American Myth (group), Sioux City Art Center, Sioux City, Iowa. 

• New Art Examiner Auction/Exhibition (group), Chicago, Illinois. 

• Les Krims (one man), Blue Sky, Oregon Center for Photographic Arts, Portland, Oregon. 

• Symbol and Surrogate: The Picture Within (group), University of Hawaii Art Gallery, 

Honolulu, Hawaii. 

• Capturing An Image: 150 Years of Photography (group), Fogg Art Museum, Harvard 

University, Cambridge, Massachusetts. 

• Recent Acquisitions (group), Burchfield Art Center, Buffalo State College, Buffalo, NY. 

1989 

• Photographers’ Dialogue (group), Boca Raton Museum of Art, Boca Raton, Florida. 

• Fine Art Faculty Exhibition (group), State College at Buffalo, Buffalo, New York. 

• Art Kane Photo Workshops (group), Cape May, New Jersey. 

• The Friends of Photography (group), an invitational exhibition/auction to benefit the Ansel 

Adams Gallery, in San Francisco, California. 

• The Cherished Image: Portraits from 150 Years of Photography (group), National Gallery of 

Canada, Ottawa, Canada. 

• Photographs from the Permanent Collection: A Sesquicentennial Celebration (group), 

Haverford Comfort Gallery, Haverford College, Haverford, Pennsylvania. 

• Blue Sky Gallery (group), an invitational exhibition auction to benefit theOregon Center 

for the Photographic Arts, Portland, Oregon. 

• Art on the Tracks (group), Pensacola, Florida. 

• Light and Shadow: 150 Years of Photography (group), Printemps, Ginza, Tokyo, Japan.


“Paul Diamond Seated in the Engine Compartment of His 122S Volvo Wagon, Buffalo, NY 1978/2001.” 

1988 

• Nos 80 (group), III Fotobienal-Vigo 1988, Vigo, Spain. 

• Fabricated Photographs (group), Carpenter Center for the Visual Arts, Cambridge, MA. 

• 150 Years of Photography, Union of Czechoslovak Creative Artists, Prague, 

Czechoslovakia. 

• SUCB Fine Arts Faculty (group), Jamestown Community College, Jamestown, NY. 

• Trains and Boats and Planes (group), The Witkin Gallery, New York, New York. 

1987 

• Poetic Injury (group), Alternative Museum, New York, New York. 

• Facets of the Collection (group), San Francisco Museum of Modern Art, San Francisco, 

California. 

• Collecting Photography 1977—1987 (group), Museum of Fine Arts, St. Petersburg, FL. 

• Likeness, Expression, and Character: Presence in Photography (group), The Museum of 

Contemporary Photography, Chicago, Illinois. 

• Photographs from the National Museum of Modern Art (group), The National Museum of 

Modern Art, Kyoto, Japan. 

• Les Krims (group), The Silver Eye Gallery, Pittsburgh, Pennsylvania. 

• The First Amendment Show (group), Old Dominion University, Norfolk, Virginia. Interiors 

(group), Light Gallery, New York, New York. 

• Family Portraits (group), University Art Galleries, Wright State University, Dayton, 

Ohio. 

• True Stories and Photofictions (group), The Ffotogallery, Cardiff, Wales. 

• 1974, A Year in Review (group), Light Gallery, New York, New York. 

• Arrangements for the Camera: A View of Contemporary Photography (group), The Baltimore 

Museum of Art, Baltimore, Maryland.


”Homage to the Crosstar Filter Photograph, Buffalo, New York, 1971.” 

“A Marxist View; Madam Curious; Bark Art; Art Bark (for Art Park); a Chinese Entertainment; Irving’s Pens; Something to 

Look at Spotting Upside Down; Hollis’s Hersheys; and Four Women Posing, 1985.” From series: The Decline of the Left. 

1986 

• Photography as Performance: Message Through Object and Picture (group), The 

Photographer’s Gallery, London, England. 

• Photography, A Facet of Modernism (group), San Francisco Museum of Modern Art, 

San Francisco, California. 

• Commitment to Vision (group), Museum of Art, University of Oregon, Eugene, Oregon. 

• Crosscurrents II (group), San Francisco Museum of Modern Art, San Francisco, CA. 

• Staging the Self-Portrait, Photography 1840-1985 (group), National Portrait Gallery, 

London, England. 

• Exhibition (group), Theatre des Realities, Metz, France.


1985 

• Cincinatti Collects Photography (group), Cincinatti Art Museum, Cincinatti, Ohio. 

• A Tribute to Lee D. Witkin (group), The Witkin Gallery, New York, New York. 

• Extending the Perimeters of 20th Century Photography (group), San Francisco Museum of 

Modern Art, San Francisco, California. 

• The Nude in Photography (group), Munchner Stadtmuseum, Munich, Germany. 

• American Images (group), Barbican Art Gallery, City of London, London, England. 

• La Chambre (group), La Centre National de la Photographie, Palais de Tokyo, 

Paris,France. 

• Les Krims (one man), Artmart, Buffalo, New York. 

• Color Contrast (group), Carl Solway Gallery, Cincinatti, Ohio. 

• Anxious Interiors (group), Laguna Beach Museum of Art, Laguna Beach, California. 

• Rochester, An American Center of Photography: 1827—1984 (group), 

George Eastman House, Rochester, New York. 

• Maximalism (group), Tweed Gallery, Plainfield, New Jersey. 

• Photographic Alternatives, Works by Contemporary American Photographers, Hong 

Kong Arts Center, Hong Kong. 

“Buffalo Beautician Standing Near Her ‘Have a Nice Day’ Pillow Admiring Her Right Breast, Buffalo, New York, 1976.” 

1983 

• Portraits from the Museum Collection (group), The Museum of Fine Arts, Houston, Texas. 

• Art of the State/State of the Art (group), SUNY Brockport, Brockport, New York. 

“Shoe Tree and Short Story, 1989.” From series: The Decline of the Left.


• Color as Form, A History of Color Photography (group), George Eastman House, 

Rochester, New York. 

• Staged Photographs (group), Lijnbaancentrum, Lijnbaan, Rotterdam, Holland. 

• Les Krims: Idiosyncratic Pictures (one man), Viviane Esder Gallery, Paris, France. 

1982 

• Form, Freud, and Feeling (group), San Francisco Museum of Modern Art, 


• Contemporary Photographs as Phantasy (group), Santa Barbara Museum of Art, 

Santa Barbara, California. 

• Beyond Photography: The Fabricated Image (group), Delahunty Gallery, New York, New 

York. 

• Les Krims (one man), Robert Freidus Gallery, New York, New York. 

1981 

• Les Krims (one man), The Looking Glass Gallery, Detroit, Michigan. 

• Master Photographers: A Sentimental Celebration (group), The Focus Gallery, 


• Autoportraits Photographiques (group), Centre George Pompidou, Paris, France. 

• Artist’s Books (group), Centre de Documentation d’Art Actual, Barcelona, Spain. 

• Acquisitions 1973—1980 (group), George Eastman House, Rochester, New York. 

• Idiosyncratic Pictures (one man), Ohio State University Gallery of Fine Art, Sullivant 

Galler, The Ohio State University, Columbus, Ohio. 

• American Photographs 1970—1980 (group), The Whatcom Museum of Art and History, 

Bellingham, Washington. 

1980 

• Idiosyncratic Pictures (one man), Galerie Fiolet, Amsterdam, Holland. 

• The Gary M Hoffer ‘74 Memorial Photography Collection (group), The Picker Art Gallery, 

Colgate University, Hamilton, New York. 

• PLEASE! (one man), Phototheque of Thessaloniki, Greece. 

“In Memory of Jim Dorr, Taxidermist, Buffalo Museum of Science,1988.” 

• Photography: Recent Directions (group), The Decordova Museum, Lincoln, MA.


• Exhibition (group), Light Gallery, New York, New York. 

1979 

• Forms Fabricated To Be Photographed (group), The San Francisco Museum 

of Modern Art, San Francisco, California. 

• Exhibition (group), Forum Stadtpark, Graz, Austria. 

• Exhibition (two man), Paul Cava Gallery, Philadelphia, Pennsylvania. 

• Photographic Surrealism (group), The New Gallery of Contemporary Art, Cleveland, OH. 

• Approaches to Photography: An Historical Survey (group), Amarillo Art Center, Amarill, 

Texas. 

• Recent Acquisitions (group), The Museum of Fine Arts, Houston, Texas. 

• Attitudes: Photography in the 1970’s (group), Santa Barbara Museum of Modern Art, 

Santa Barbara, California. 

• The Witkin Gallery, Inc. 1969—1979 (group), The Witkin Gallery, New York, NY. 

• One of a Kind (group), Museum of Fine Arts, Houston, Texas. 

1978 

• Les Krims (one man), Nova Gallery, Vancouver, British Columbia, Canada. 

• Les Krims (one man), Church Street Photographic Center, Melbourne, Australia. 

• Mirrors and Windows: American Photography Since 1960 (group), Museum of Modern Art, 

New York, NY. 

• Exhibition (group), Herbert Johnson Museum of Art, Cornell University, Ithaca, NY. 

• Exhibition (group), Cincinatti Art Museum, Cincinatti, Ohio. 

• Small Objects (group), Robert Freidus Gallery, New York, NY. 

• Kirklands International Photography Exhibition (group), Walker Art Gallery, Liverpool, 

England. 

• Fantastic Photography in the USA (group), Canon Photo Gallery, Amsterdam, Holland. 

• Forty American Photographers (group), E. B. Crocker Art Gallery, Sacremento, CA. 

• Les Krims (one man), Paule Pia Galerij, Antwerp, Belgium. 

• Les Krims (one man), Light Gallery, New York, NY 

• 8 x 10 x 10 (group), Vision Gallery of Photography, Boston, MA. 

• Les Krims: Academic Art 1974-1977 (one man), Canon Photo Gallery, 

Amsterdam, Holland. 

1977 

• Exhibition (group), New England School of Photography, Boston, Massachusetts. 

• Extended Frame (group), Visual Studies Workshop, Rochester, New York. 

• Les Krims (one man), Canon Photo Gallery, Geneva, Switzerland. 

• Exhibition (group), Forum Stadtpark, Graz, Austria. 

• The Instant Image (group), Aktionsgalerie Bern, Bern, Switzerland. 

• Les Krims Kodalith Images (one man), Galerie ABF, Hamburg, Germany. 

• Diane Arbus, Les Krims, Duane Michals (three person), Galerie Schellman and Kluser, 

Munich, Germany. 

• Exhibition (group), Documenta 6, Kassel, Germany. 

• In Western New York (group), Albright-Knox Art Gallery, Buffalo, New York.


• Survey of Contemporary Photography (group), Cranbrook Academy of Art/Museum, 

Bloomfield Hills, Michigan. 

• La Photo Comme Photographie (group), Centre d’Arts Plastiques Contemporains de 

Bordeaux, France. 

• Foto-Sequenties (group), Stedelijk Museum, Amsterdam, Holland. 

1976 

• Les Krims (one man), Galerie A. Nagel, Berlin, Germany. 

• A Temporary Possession: The Human Image in Twentieth Century Photography 

(group), Museum of Art, Washington State University, Portland, Washington. 

• Uranium Robots: 1976 (one man), Nina Freudenheim Gallery, Buffalo, New York. 

• One Eye Open, One Eye Closed (three man), Alberta College of Art, Alberta, Canada. 

• Photographie: Rochester, New York (group), Centre Culturel Americain, Paris, France. 

• Exhibition (three man), Musee Galliera, Paris, France. 

• Focus Gallery Tenth Anniversary Exhibition (group), Focus Gallery, San Francisco, CA. 

• Exhibition (two man), Suzette Schochet Gallery, Newport, Rhode Island. 

• Les Krims (one man), The Picker Gallery at Colgate University, Hamilton, New York. 

• Fictcryptokrimsographs and Kodalith Images 1968—1975 (one-man), GalerieJollenbeck, 

Cologne, Germany. 

• Les Krims (one man), Nina Freudenheim Gallery, Buffalo, New York. 

• Les Krims (one man), Ohio Wesleyan University, Delaware, Ohio. 

• Les Krims (one man), University of Colorado, Boulder, Colorado. 

“Chicken Pisher Pitcher Picture,1974.” 

“Bubble Gum Test,1974.” “Pencil Test,1974.”


1975 

• Exhibition (group), Nina Freudenheim Gallery, Buffalo, New York. 

• Dix Photographies Americains a Deauville (group), Deauville, France. 

• Les Krims (one man), Yajima Gallerie, Quebec, Canada. 

• Contemporary Photographs (group), The Halsted 831 Gallery, Birmingham, Michigan. 

• Les Krims (one man), Galerie Die Brucke, Vienna, Austria. 

• Unordinary Realities (group), Xerox Square Exhibition Center, Rochester, New York. 

• In Just Seconds (group), George Eastman House, Rochester, New York. 

• Les Krims (one man), The Shadai Gallery, Tokyo, Japan. 

• The Human Image: Sociology and Photography (group), State University College, 

Fredonia, New York. 

• Exhibition (group), Southwestern College, Chula Vista, California. 

• Fictcryptokrimsographs (one man), The Visual Studies Workshop, Rochester, NewYork. 

• The Polaroid Print (group), Lampkin Camerawork Gallery, Fairfax, California. 

• 4 Amerikanische Photographen: Lee Friedlander, Ralph Gibson, Les Krims, Duane Michals 

(four man), Stadtiches Museum, Leverkusen, Germany. 

• Exhibition (group), Photogenesis Gallery, Columbus, Ohio. 

• (Photo)(Photo)2 ...(Photo)n (group), University of Maryland Art Gallery, College Park, 

Maryland. 

1974 

• Private Realities: Recent American Photography (group), Boston Museum of Fine Arts, 

Boston, Massachusetts. 

• Les Krims (one man), Galleria Photografica Nadar, Pisa, Italy. 

• Four American Photographers (group), Societe des Expositions du Palais de Beaux-Arts, 

Bruxells, Belgium. 

• Les Krims (one man), Galerie Documenta, Torino, Italy. 

• Multimedia (group), Erie Art Center, Erie, PA. 

• Art and Animals (group), Focus Gallery, San Francisco, California. 

• Light Transformed (group), Lowe Art Museum, University of Miami, Coral Gables, FL. 

• Les Krims (one man), Light Impressions Gallery, Rochester, New York. 

• Les Krims (one man), Galerie Delpire, Paris, France. 

• Photography in America (group), The Whitney Museum of American Art, New York, New 

York. 

From the Series: ”Nudes in Blackface: In Hommage to Al Jolson, 1970.“


1973 

• Photography (group), Ross-Freeman Gallery, Northridge, California. 

• International Market for Current Art, 1973 (group), Dusseldorf, Germany. 

• Les Krims (group), Photogalerie Wilde, Cologne, Germany. 

• Nine Western New York Artists (group), Burchfield Gallery, Buffalo State College, 

Buffalo, New York. 

• Art 4 ‘73 Internationale Kunstmesse (group), Basel, Switzerland. 

• Critic’s Choice (group), Neikrug Gallery, New York, New York. 

• Exhibition (group), University of New Mexico, Albuquerque, New Mexico. 

• Les Krims (one man), Boston University, Boston, Massachusetts. 

• The Document (group), Tyler School of Art, Philadelphia, Pennsylvania. 

1972 

• Les Krims (one man), The International Cultural Center, Antwerp, Belgium. 

• The Expanded Photograph (group), Philadelphia Civic Center Museum, Philadelphia, PA. 

• Les Krims (one man), Album Fotogalerie, Cologne, Germany. 

• Woman (group), Zone V Photographer’s Workshop, Watertown, MA. 

• Ohio Silver (group), Ohio Silver Gallery, Los Angeles, CA. 

• Les Krims (one man), The Witkin Gallery, New York, New York. 

• Fifteen Photographers (group), Visual Arts Gallery, Pensacola Junior College, 

Pensacola, Florida. 

• Photographer as Magician (group), Memorial Union Art Gallery, University of California 

at Davis, Davis, CA. 

• 60’s Continuum (group), George Eastman House, Rochester, New York. 

“Tokyo Nude with Draped Paper, 1974.”


“Trevor Ewell, Not a Welfare Recipient, 1999.” 

“Mom’s Snaps,1970.” 

1971 

• The Western New York Exhibition (group), Albright-Knox Art Gallery, Buffalo, NY. 

• Exhibition (four man) The Fogg Museum, Harvard University, Cambridge, MA. 

• Les Krims (one man), The Toronto Gallery of Photography, Toronto, Canada. 

• Les Krims (one man), The Silver Image Gallery, The Ohio State University, Columbus, 

Ohio. 

• Photographs of Women (group), The Museum of Modern Art, New York, New York. 

• Les Krims (one man), University of Colorado, Boulder, Colorado. 

• Les Krims (one man), Moore College, Philadelphia, Pennsylvania. 

• Critic’s Choice (group), Humbolt State College, Arcata, California. 

• Les Krims (one man), George Eastman House, Rochester, New York. 

1970 

• Christmas Show (group), The Underground Gallery, New York, New York. 

• Research Award Recipients’ Show (group), Charles Burchfield Center, SUNY College at 

Buffalo, Buffalo, New York. 

• Fictions (group), Galerie Prisma IV, Lund, Sweden. 

• Photography Invitational 1971 (group), Arkansas Art Center, Little Rock, Arkansas. 

• Being Without Clothes (group), Massachusetts Institute of Technology, Cambridge, MA. 

• 12 x 12 (group), Carr House Gallery, Rhode Island School of Design, Providence, RI.


• Exhibition (group), The Visual Studies Workshop Gallery, Rochester, New York. 

• Christmas Show (group), Andrew Dixon White Museum at Cornell University, Ithaca, 

New York. 

• The Photograph As Object (group), The National Gallery of Canada, Ottawa, Canada. 

• Les Krims (one man), Il Diaframma Gallery, Milan, Italy. 

From: “The Incredible Case of the Stack o’ Wheats Murders, 1970/71.” 

1969 

• Museum of Modern Art Junior Council Christmas Show (group), Museum of Modern Art, 

New York, NY. 

• Western New York Show (group), Albright-Knox Art Gallery, Buffalo, New York. 

• Les Krims (one man), Garrick Fine Arts Gallery, Philadelphia, PA. 

• Les Krims/Wynn Bullock (two man), The Witkin Gallery, New York, NY. 

• Photographer’s Choice (group), Pratt Museum, Amherst College, Amherst, MA. 

• Les Krims (one man), Akron Art Institute, Akron, Ohio. 

• Exhibition (group), Dartmouth College, Hanover, NH. 

• Exhibition (group), Underground Gallery, New York, New York. 

• Vision and Expression (group), George Eastman House, Rochester, New York. 

• Les Krims (one man), George Eastman House, Rochester, New York. 

• Les Krims (one man), Focus Gallery, San Francisco, California. 

1968 

• Exhibition (group), Rochester Institute of Technology, Rochester, New York. 

1967 

• Exhibition (group), Rochester Institute of Technology, Rochester, New York. 

1966 

• Les Krims (one man), thesis exhibition at Pratt Institute, Brooklyn, New York.


“Pizza & Tattoos, Iron City Tattoo Contest, Lovejoy, Buffalo, New York, 2003.” 

“Carla Lovorchick, in Her Father’s Livingroom, 1988.” 

“Stilted, 1996.” From the series: The Decline of the Left. 

T R A V E L I N G ✈ E X H I B I T I O N S 

1980 

• Ecole Supérieur de Commerce de Montpellier, France. 

• Comité d’Enterprise E.D.F. de Paris, France. 

• Maison des Jeunes et de la Culture de la Rochelle, France. 

• Agence de la Presse de Nancy, France.


1979 

• Centre d’Action Culturelle de Chelles, France. 

• Maison Populaire de Montreuil, France. 

• Office Municipal de Briancon, France. 

• Photon de Charleville-Mezieres, France. 

• Centre Culturel d’Ibos, France. 

• Centre d’Animation Culturelle de Mulhouse, France. 

1978 

• Association Mulhousienne pour la Culture, Mulhouse, France. 

• Maison des Jeunes et de la Culture, Cole, France. 

• Ecole Regionale des Beaux Arts, Macon, France. 

1977 

• Ecole des Beaux Arts, Lyon, France. 

• Maison des Jeunes et de la Culture Houhaux l’Abbaye, Grenoble, France. 

• Musee des Beaux Arts, Besancon, France. 

1975 

• University of Florida, Gainsville, Florida. 

• Southwest Missouri State College, Springfield, Missouri. 

• Milbrook School, Milbrook, New York. 

1974 

• El Camino College, Via Torrance, California. 

1973 

• St Norbert College, DePere, Wisconsin. 

• St Lawrence University, Canton, New York. 

• University of Northern Iowa, Cedar Falls, Iowa. 

• Orange Coast College, Costa Mesa, California. 

• Atlanta School of Art, Atlanta, Georgia. 

• Everett Community College, Everett, Washington. 

1972 

• Southwestern College, Chula Vista, California. 

• The Madison Art Center, Madison, Wisconsin. 

• Florissant Valley Community College, St. Louis Missouri. 

• Tarrant County Junior College, Fort Worth, Texas. 

• Moorhead State College, Moorhead, Minnesota. 

• Garret Theological Seminary, Evanston, Illinois. 

• Baltimore Museum, Baltimore, Maryland. 

• Rhode Island School of Design, Providence, Rhode Island. 

• Les Krims and Duane Michals, Musee National d’Art Modern Centre George 

Pompidou, Paris, France. 

• Leslie Krims/35 Photographs, Visual Studies Workshop, Rochester, New York.


“Billary (President Clinton as a Young Boy Pretending to Be a Leader),1992.” From series: The Decline of the left. 

1971 

• Vanderbuilt University, Nashville, Tennessee. 

• Washington State University, Pullman, Washington. 

• University of Delaware, Newark, Delaware. 

• Columbia College, Chicago, Illinois. 

• University of Nebraska, Lincoln, Nebraska. 

• University of California at Santa Cruz, Santa Cruz, California. 

1970 

• University of Wisconsin, Milwaukee, Wisconsin. 

• Pensacola Junior College, Pensacola, Florida. 

• Middle Tennessee State University, Murfreesboro, Tennessee. 

• From the George Eastman House Collection 1874- 1969, George Eastman 

House,Rochester, New York. 

1969 

• The Hotchkiss School, Lakeville, Connecticut. 

• Long Island University, Brooklyn Center, Brooklyn, New York. 

S E L E C T E D C O L L E C T I O N S 

• The Hallmark Photographic Collection. 

• The Macedonian Museum of Modern Art, Thessaloniki, Greece. 

• The Denver Art Museum, Denver, Colorado. 

• The Elizabeth Collection, Rochester, New York. 

• Tokyo Metropolitan Museum of Photography, Tokyo, Japan. 

• Museum of Modern Art, Tessaloniki, Greece. 

• Maison Européenne de la Photographie, Paris, France. 

• National Museum of American Art, Smithsonian Institution, Washington, D.C. 

• Bibliotheque Nationale, Paris, France. 

• Whatcom Museum of History and Art, Bellingham, Washington. 

• Walker Art Center, Minneapolis, Minnesota. 

• The Gary M. Hoffer ‘74 Memorial Photography Collection, Hamilton, New York. 

• Museum of Art, Rhode Island School of Design, Providence, Rhode Island. 

• Australian National Gallery, Canberra, Australia.


• The Polaroid Collection. 

• Amarillo Art Center, Amarillo, Texas. 

• San Francisco Museum of Modern Art, San Francisco, California. 

• Museum of Fine Art, Houston, Texas. 

• Wellesley College, Wellesley, Massachusetts. 

• Centre National d’Art et de Culture George Pompidou Musee National d’Art Moderne, 

Paris, France. 

Buffalo Beautician Brushing Her Pubic Hair, Perched Above Male Cheesecake Pictures Taped to Her Tub So These Can Be Viewed While Seated On 

the Toilet, Buffalo, New York, 1976. 

“Robin Tressler’s Valentine, 1989.” 

• Boston Museum of Fine Art, Boston, Massachusetts. 

• Tokyo College of Photography, Tokyo, Japan. 

• Nassau Community College, New York. 

• Visual Studies Workshop, Rochester, New York. 

• Vassar College Art Library, Poughkeepsie, New York. 

• Pratt Institute Library, Brooklyn, New York. 

• Office of the Chief Architect, Port Authority of New York, New York, NY. 

• The Picker Gallery, Colgate University, Hamilton, New York. 

• The Charles Rand Penny Foundation. 

• Reva & David Logan Foundation.


• Library of Congress, Washington, D.C. 

• St. Bonaventure University, Saint Bonaventure, New York. 

• Ben & Beatrice Goldstein Foundation. 

• Erie Community College North, Dry Memorial Library, New York. 

• Cultural Art Committee, SUNY at Alfred, Alfred, New York. 

• Catskill Art Society, Inc.. 

• Ohio Wesleyan University, Delaware, Ohio. 

• University of New Mexico, Albuquerque, New Mexico. 

• The Museum of Modern Art, New York, NY. 

• The Minneapolis Institute of Arts, Minneapolis, Minnesota. 

• The University of Kansas Museum of Art, Lawrence, Kansas. 

• State University of New York at Geneseo, Geneseo, New York. 

• National Gallery of Canada, Ottawa, Canada. 

• George Eastman House, Rochester, New York. 

• Musée de la photographie à Charleroi, Charleroi, Belgium. 

• The Peter C. Bunnell Collection, Princeton University Art Musum. 

“The Fish Tank, Pleasantville, New York, 1970. 

“Fall, Fargo Avenue, Facing the West Side Armory, Buffalo, New York 1969.”


P U B L I C A T I O N S 

“The Source of Anita Hill’s Coke Can Hair, 1994/1998.” From series: The Decline of the Left. 

2005 

• Les Krims. A Photo Poche series monograph, edited by Robert Delpire, with an 

introduction by Bernard Noël. Arles, France: Actes Sud, November 2005. 

2004 

• Journal des Musées d’art et d’histoire, cover image for this journal of the Department of 

Cultural Affairs, the City of Geneva, Switzerland, 2004. 

2003 

• VIGOVISIONS, Coleccion Fotografica del Ayuntamiento de Vigo. Vigo, Spain: Museo de 

Arte Contemporanea de Vigo, 2003. 

• Global Village: The 1960s. Montreal, Canada: Snoeck Publishers & The Montreal 

Museum of Fine Arts, 2003. 

• A Clear Vision—Photographische Werke aus der Sammlung F.C. Gundlach. 

Hamburg, Germany: Internationales Haus der Photographie 

Deichtorhallen Hamburg, 2003. 

2002 

• HEXENWAHN, Ängste der Neuzeit. Berlin, Germany: Deutsches Historisches Museum, 

2002. 

2001 

• Nus et paysages, by Alain Roger. Paris, France: Éditions Aubier, 2001 

• Jacques Désires de photographies, by Jacques Bloesch (a limited 

edition book of 300 copies). Geneva, Switzerland: Le Scorpion Bleu, 2001. 

2000 

• Le Chat Essentiellement. Paris, France: Nathan/Delpire, 2000. 

• Le nu photographié. Aix-en-Provence, France: ACTES SUD, 2000. 

1999 

• Fétiches & Fétichismes. Paris, France: Passage de Retz, 1999.


1998 

• An American Century of Photography: From Dry-Plate to Digital, 

The Hallmark Photographic Collection. Kansas City, Missouri: 

Hallmark Cards Inc., 1998. 

• Digital Frontiers, Photography’s Future at Nash Editions (CD-ROM). Manhattan Beach, 

California: Nash Editions/George Eastman House, 1998. 

• Lessico Universale Italiano. Rome, Italy: Istituto della Enciclopedia Italiana, 1998. 

“Pretenders Pretending to Be Wounded and Dead Pretend Watercolor Painting…2003.” 

1997 

• Dérision & Raison (catalog). Charleroi, Belgium: Musée de la photographie à Charleroi, 

• Photographers Encyclopedia International (CD version). Geneva, Switzerland: M+M Auer, 

1997. 

1996 

• Portfolio of 17 pictures published in POLIPHILE. Paris, France: Editions Aldines, 1996. 

(There’s also in this annual an article about my work called, 

“L’INCOMMENSURABLE: LA MORALE, LE STYLE,” by Alain Faure. 

• Kobe Aid Fund World Photo Art Exhibition and Auction, 376 page, 4 color, 

hard bound catalog of exhibition/auction. Tokyo, Japan: Asahi Shimbun, 1996. 

• Photographie des 20. Jayrunderts, catalog of the photographie collection at Museum 

Ludwig, in Köln, Germany, in which three of my pictures are reproduced with 

commentary. Köln, Germany: Benedikt Tashen Verlag GmbH, 1996. 

1995 

• Pictures published in Musée de la Photographie à Charleroi’s new books: Musea Nostra 

(a short history of photography), and Quando (a chronology of the history of 

photography). Charleroi, Belgium: Credit Communal de Belgique, and Conservat, 

1995.


“Buffalo Fashion: True; a Breadline; Watch Your Ps-and-Jews; and an Oxymoron (Big Moron),1979.” 

1994 

• Allan Chasanoff Photographic Collection: Tradition and the Unpredictable, catalogue of an 

exhibition at the Museum of Fine Arts, Houston, Texas, January 16 - March 27, 

1994. 

1993 

• Gli anni ‘70 lo sguardo, la foto. Modena, Italy: Nuova Alfa Editoriale, 1993. 

Pictures and article called “L’expérience du simulacre,” by Alain Julliard-Jérôme 

Images. Geneva, Switzerland: Centre de la Photographie Geneve, 1993. 

1992 

• Picture published in Foto Taschenkalender. Heidelberg, Germany: Artium V 

• Article and pictures published in Det Iscenesatte Fotografi, by Mette Sandbye. 

1991 

• The Sun. Tokyo, Japan: 1991. 

1990 

• Picture published in conjunction with article written by A.D.Coleman, in Fotografisk 

Tidskrift. Stockholm, Sweden: Grafisk Form Magazine, 1990. 

• Article published in “7” Corriere Della Sera, called “Instante Postmoderne” by Gianni 

Riotta. Milan, Italy: Editoriale Quotidiani, June 1990. 

• Picture to illustrate article “Riciclo Vitale,” by Gianni Riotta, published in the Sunday 

supplement of Corriere Della Sera. Milan, Italy: RCS Editoriale Quotidiani, April 21, 

1990. 

• Picture published in Understanding Photographs, by Terry Barrett. Mountain View, 

California: Mayfield Publishing Company, 1990. 

1989 

• Picture published in De la Photographie comme un des beaux-arts, edited by Alain Sayag. 

Paris, France: Centre National de la Photographie, 1989. 

• Photographers’ Dialogue, edited by Gail Roberts and Steven Caruthers. Boca Raton, 

Florida: SRI and Boca Raton Museum of Art, 1989. 

• Juror’s Statement, by Les Krims, for “Alaska Positive” exhibition. Juneau, Alaska: Alaska 

State Museum, 1989.


• “Beginning at Home,” by A. D. Coleman, published in Satori. Tivoli, New York: Hands 

Off Press, 1989. 

• “La Photographie dans L’Art de XXEMX Siecle,” by Alain Sayag, published in 

Actualities des Arts Plastiques. Paris, France: Centre National de Documentation 

Pedagogique, 1989. 

“Radical Feminists Riding the Comet of Postmodernism, 1987.” From series: The Decline of the Left. 

1987 

• Poetic Injury, the Surrealist Legacy in Postmodern Photography, the Alternative 

Museum, with essays by Rosalind Krauss, Suzanne Boettger, and Roger Denson. 

New York, New York: The New Museum, 1987. 

• Fabrications, Staged, Altered, and Appropriated Photographs, by Ann Hoy. New York, New 

York: Abbeville, 1987. 

• The Naked Eye, Great Photographs of the Nude, selected and introduced by David Bailey, 

with text by Martin Harrison. London, England: Barrie & Jenkins, 1987. 

1986 

• Photography, A Facet of Modernism, by Van Deren Coke. San Francisco, California: San 

Francisco Museum of Modern Art, 1986. 

• Photography As Performance, catalogue of exhibition. London, England: Photographer’s 

Gallery, 1986. 

• Theatre des Realities, catalogue of exhibition. Metz, France: Metz pour 

la Photographie, 1986. 

1985 

• Masterpieces of Photography from the George Eastman House Collections, by 

Robert Sobieszek. New York, New York: Abbeville Press, 1985. 

• Pictures published in Esquire, December 1984, February 1985, and May of 1985. New 

York, New York: Esquire Associates, 1984, 1985. 

• Das Aktfoto. Munich, Germany: Munchner Stadtmuseum, 1985. 

• Photo Japan, No, 16. Tokyo, Japan: Fukutake, 1985. 

1984 

• A World History of Photography, by Naomi Rosenblum. New York, New York: Abbeville, 

1984.


• Photographic Alternatives, Works by Contemporary American Photographers, catalogue. 

Hong Kong, China: Hong Kong Arts Centre, 1984. 

• La Photographie Creative, by Jean Claude Lemagny. Paris, France: Contrejour, 1984. 

• AIPAD ‘84, catalogue for the Association of International Photography Art Dealers. 

New York, New York: AIPAD, 1984. 

• The Making of a Collection, Photographs from the Minneapolis Museum of Art, by Carroll T. 

Hartwell. Millerton, New York: Aperture, 1984. 

• Sign of Life, by Alfred Appel, Jr. New York, New York: Alfred A Knopf, 1984. 

• Photographies No.6. Paris, France: Bibliotheque National, 1984. 

• Devil/Paradis. Charleroi, Belgium: Thierry Tillier Publications, 1984. 

“Comforting the Poor, 1966.” 

“Mary’s Middle Class, 1984.” From series: The Decline of the Left. 

1983 

• Particulars, catalogue of an exhibition. Rochester, New York: George Eastman House, 

1983. 

1982 

• American Photographer, offset edition print of a color picture from “Idiosyncratic


Pictures,”called “A Rakes Revisionist Regress...” New York, New York: 

November, 1982. 

• Idiosyncratic Pictures,” offset post card set version of original print portfolio 

published in 1981, by Les Krims. Buffalo, New York: Les Krims, 1982. 

• Zoom, No. 91, portfolio of photographs from “Idiosyncratic Pictures.” Paris, France: 

Summer, 1982. 

• Connecticut Magazine, Vol. 45, No. 9. “The Bambi Complex,” by Geoffrey Gevalt. 

Fairfield, Connecticut: 1982. 

• Selections from the Strauss Photography Collection, catalog. Denver, Colorado: Denver Art 

Museum, 1982. 

• Zien Magazine, Vol 4, No. 1, article called “Staged Photo Events—The Frontiers of 

Meaning.” Rotterdam, Holland: Fall 1982. 

• Camera Lucida, “The Offset Work of Les Krims: An Interpretive Critique,” by Terry 

Barrett. Sun Prairie, Wisconsin: 1982. 

• Contemporary Photographs as Phantasy, catalog of an exhibition at Santa Barbara 

Museum of Art. Santa Barbara, California: Santa Barbara Museum of Art, 1982. 

1981 

• Actualitie Des Arts Plastiques, an article called “La Photographie Tendances Recentes”, 

by Jean-Claud Lemagny. Paris, France: Centre National De Documentation 

• Pedagogique, 1981. 

• Picture. Santa Fe Springs, California: Gardner/Fulmer Lithograph, 1981 

• Dialogue, The Ohio Arts Journal, Vol. 3, No. 4, pp. 36-37, “Les Krims: Idiosyncratic 

Pictures,” by Terry Barrett. Ohio: 1981. 

• Autoportraits Photographiques. Paris, France: Centre George Pompidou, 1981. 

• French PHOTO, a portfolio of new pictures. Paris, France: Fillipachi Publications, 1981. 

1980 

• Twentieth Century Photographs, catalog. Albuquerque, New Mexico: Art Museum, The 

University of New Mexico, 1980. 

• Acquisitions 1973-1980. Rochester, New York: George Eastman House, 1981. 

• Photo Topics and Techniques. New York, New York: Amphoto, Watson-Guptill 

Publications, 1980. 

• American Photographs: 1970—1980. Seattle, Washington: The Washington Art 

Consortium, 1980. 

• Idiosyncratic Pictures, an original print portfolio, in an edition of 35. Buffalo, New York: 

Les Krims, 1980.


”Red Monster, Erie County Fair, 1987.” 

1979 

• Photographic Surrealism. Cleveland, Ohio: The New Gallery of Contemporary Art, 1979. 

• Modern Photography, Vol. 43, No. 3, “Currents: American Photography Today,” by Julia 

Scully, and Andy Grundberg. New York, New York: March 1979. 

• Le Nouvel Observateur Special Photo, No.5. Paris, France: 1979. 

1978 

• Printletter 18, Vol.3, No. 6, portfolio of prints. November/December 1978. Camera 

Magazine. Lucerne, Switzerland: September 1978. 

• 23 Directions, catalogue of exhibition. Liverpool, England: Walker Art Gallery, 1978. 

• The Mother Book, by Liz Smith. Garden City, New York: Doubleday & Co., Inc., 1978. 

1977 

• Das Sofortbild Polaroid, catalog of exhibition at Aktionsbalerie. Bern, Switzerland: Der 

Lowe, 1977. 

• Le Nouvel Observateur, Special Photo, No. 1/Hors Serie “Pieges a Temps,” article about E. 

J. Marey, Thomas Eakins, and Les Krims. Paris, France: 1977. 

• Kunstforum International, Band 18, 4 Quartel, article “Aspekte eines Mediums, ”Germany 

1976. 

• Nueva Lente, Number 57, “Encuentro.” Madrid, Spain: November 1976. 

• Artforum, “The Directorial Mode,” by A. D. Coleman. New York, New York: September 

1976. 

• Moneysworth, portfolio of prints published to accompany article “Are Hunters Skinning 

the Public.” New York, New York: December 1976. 

• The Photography Catalogue. New York, New York: Harper & Row Publishers, 1976. 

• French Photo, portfolio of new work. Paris, France: November 1976.


“Ten, Dark, Sweet Ponds. 1979.” From: Idiosyncratic Pictures. 

• The New York Times, “Creating Photographs,” by Peggy Sealfon. New York, New York: 

Times Publishing, October 10, 1976. 

• Camera 35, an article called “Violated Instants,” by A. D. Coleman. New York, New 

York: July 1976. 

• Modern Photography, article “Pushing the Limits.” New York, New York: July 1976. 

Afterimage, Vol. 4, Nos. 1 & 2, publication of “multiple” (giveaway, self assembled 

book) by Les Krims, titled “Previews.” Rochester, New York: Visual Studies 

Workshop May/June 1976. 

• The Human Image: Sociology and Photography, catalog of exhibition. Fredonia, New York: 

State University of New York, 1976. 

• Oui Magazine. Chicago, Illinois: May 1976. 

• Exposure, Journal of the Society for Photographic Education, Vol. 14:2. May 1976. 

• Il Diaframma Fotografia Italiana, review of Fictcryptokrimsographs. Milan, Italy: March, 

1976. 

• Aura, Vol. 1, No. 1, an interview with Les Krims. Buffalo, New York: Aura Publishing, 

February 1976. 

• Les Krims Kodalith Images 1968—1975, a 32 card post card set. Vienna, Austria: Galerie 

Die Brucke, 1976. 

1975 

• The Photographer’s Choice. Danbury, New Hampshire: Addison House, 1975. 

• Fictcryptokrimsographs, small book reproducing 40, manipulated Polaroid SX-70 prints in 

full color, with introduction by Hollis Frampton. Buffalo, New York: Humpy Press, 

1975. 

• Nude in Photography. New York, New York: Ridge Press, 1975.


“Leftist Academic Biker and Member of Abused Inner Child Cult, Bike Week, Laconia, NH, 1990.” 

“Freak Shows Are Fashionable Again, and Bill Clinton Gets Blow Jobs in the Oval Office, 2000.” 

From series: The Decline of the Left. 

1974 

• Newsweek, review of Fictcryptokrimsographs exhibition at Light Gallery. New York, New 

York: October 21, 1974. 

• History of Photography in the 20th Century, by Peter Tausk. Cologne, Germany:Dumont 

Schauberg, 1974. 

• Photo Magazine, article titled “14 Grands Au Polaroid.” Paris, France: October 1974. 

• Photography in America, edited by Robert Doty. New York, New York: Random House, 

1974. 

• Fotografia Italiana, article about Les Krims exhibition in Italy. Milan, Italy: 1974. 

• Artforum, article by Hollis Frampton, called “Incisions in History/Segments of Eternity,” 

reproducing six pictures from “The Incredible Case of the Stack O’ Wheats 

Murders.” New York, New York: 1974. 

• Atalante, magazine article about international photographic scene. Milan, Italy: 

September 1974. 

• Private Realities: Recent American Photography. Boston, Massachusetts: Museum of Fine 

Arts, 1974. 

• Piss Portraits, caricature portraits of photo-notables, painted by Paul Diamond, using the 

mediums of urine and flour. Buffalo, New York: Humpy Press, 1974 

• New Images in Photography: Object and Illusion, catalog. Coral Gables, Florida: Lowe Art 

Museum, 1974. 

• Foto, portfolio of prints. Paris, France: March 1974.


1973 

• Fotografie als Kunst, by Volker Kahmen. Germany, 1973. 

• Foto Galerie Die Brucke, catalog reproducing 15 pictures. Vienna, Austria: Galerie Die 

Brucke, 1973. 

• The New York Times Magazine, article on deer hunting, page 68. New York, New York: 

Times Publishing, December 9, 1973. 

• Photographers, Painters, Sculptors, Printmakers 1970, 1971. Albany, New York:Creative 

Artists Public Service Program, 1973. 

• Foto, portfolio of pictures. Paris, France: April 1973. 

• Marriages and Families, a Transaction Society Reader. Chicago, Illinois. 

1973 

• Oui. Chicago, Illinois: Playboy Publications, 1973. 

• Photography Year 1973. New York, New York: Time-Life Books, 1973. 

• Porsche Rainbows, original color print portfolio. Buffalo, New York: Humpy Press, 1973. 

“Two Beauticians Pretending to Be Interested in Science, 1978” 

1972 

• Foto Kvinnan. Stockholm, Sweden: 1972. 

• The Expanded Photograph, catalog of exhibition. Philadelphia, Pennsylvania:Philadelphia 

Civic Center Museum, 1972. 

• Infinity, small portfolio of pictures published. New York, New York: September 1972. 

• Making Chicken Soup, small book by Les Krims. Buffalo, New York: Humpy Press, Inc., 

1972. 

• Foto, portfolio of photographs. Paris, France: 1972. 

• The Incredible Case of the Stack O’ Wheats Murders, limited edition, boxed, offset portfolio. 

Buffalo, New York : Humpy Press, Inc.,1972. (Also published as boxed, original print 

portfolio with associated objects.) 

• The Deerslayers, limited edition, boxed, offset portfolio. Buffalo, New York: Humpy 

Press, Inc., 1972. (Also published as boxed, original print portfolio with objects.) 

• The Little People of America 1971, limited edition, boxed, offset portfolio. Buffalo, New 

York: Humpy Press, Inc., 1972. (Also published as boxed, original print portfolio with 

associated objects.) 

• Foto Og Smalfilm. Copenhagen, Denmark: 1972. Fifteen Photographers, catalogue of 

exhibition. Pensacola, Florida: Pensacola Junior College, 1972. 

• Camera Magazine. Lucerne, Switzerland: 1972. 

• Modern Photography Annual. New York, New York: 1972.


1971 

• U. S. Camera Annual. New York, New York: 1971. 

• Camera Magazine. Lucerne, Switzerland: 1971. 

• Stern. Germany: 1971. 

• Weekly Shincho Magazine. Tokyo, Japan: 1971. 

• The Art of Photography, from Life Library of Photography. New York, New York: Time- 

Life, 1971. 

1970 

• Transaction Magazine. December 1970. 

• Life. New York, New York: Time-Life, 1970. 

• Bijitsu Techo Monthly Art Magazine. Tokyo, Japan: 1970. 

• The Great Themes, from Life Library of Photography. New York, New York: Time-Life, 

1970. 

1970 

• Album #6. London, England: 1970. 

• Album #5. London, England: 1970. 

• Popular Photography Italiana, portfolio of photographs. Italy, 1970. 

• Eight Photographs: Leslie Krims. New York, New York: Doubleday & Co., 1970. 

• The Photo Image, #5. Tokyo, Japan: 1970. 

• Camera Mainichi, portfolio of photographs. Tokyo, Japan: 1970. 

• Album #4, portfolio of photographs. London, England: Spring 1970. 

• 12 x 12, catalogue of exhibition. Providence, Rhode Island: Rhode Island School of 

Design, 1970. 

“The Static Electric Effect of Minnie Mouse on Mickey Mouse Balloons, 1968.” 

1969 

• Thirty-second Western New York Show, catalog of exhibition. Buffalo, New York: Abright- 

Knox Art Gallery, 1969. 

• Popular Photography Magazine, numerous occasions in 1969. 

• Modern Photography Magazine, numerous occasions in 1969. 

• The Village Voice, numerous occasions in 1969. 

• Vision and Expression, catalog. Rochester, New York: George Eastman House, 1969. 

1967 

• Aperture, 13:3, portfolio of prints. Millerton, New York: Aperture, Inc., 1967.


G U E S T L E C T U R E R / V I S I T I N G A R T I S T 

1997 

• Haverford College, Haverford, PA. 

❏ 

“Dershowitz Helped Free a Killer,1997.” From the series: The Decline of the Left. 

1990 

• Genesee Community College, Batavia, New York. 

1989 

• Art Kane Photo Workshops, Inc., Cape May, New Jersey. 

Pensacola Junior College, Pensacola, Florida. 

1988 

• III Fotobienal-Vigo ‘88, Vigo, Spain. 

1987 

• Old Dominion University, Norfolk, Virginia. 

1985 

• The Cleveland Institute of Art, Cleveland, Ohio. 


• The School of Visual Arts, New York, New York. 

• The University of Buffalo, Buffalo, New York. 

1984 

• The University of Buffalo, Buffalo, New York. 

• The University of Ohio, Athens, Ohio. 

• The University of Texas at Arlington, Arlington, Texas. 

• The University of Oklahoma, Norman, Oklahoma. 

1983 

• The University of Buffalo, Buffalo, New York.


1982 

• CEPA, Buffalo, New York. 

”Classic Feminine Beauty with Cherry and Champagne Glass, 1976.” From the series: “Academic Art.” 

1981 

• Ontario College of Art, Toronto, Canada. 

• Wayne State University, Center for Creative Studies, Detroit, Michigan. 

• The Nathan Mayhew Seminars, Martha’s Vineyard, Massachusetts. 

• The Ohio State University, Columbus, Ohio. 

1979 

• The Nathan Mayhew Seminars, Martha’s Vineyard, Massachusetts. 

• Rutgers University, New Brunswick Campus, New Jersey. 

• The Art Guild, Farmington, Connecticut. 

1978 

• The Visual Studies Workshop, Rochester, New York. 

• Society for Photographic Education, Asilomar, California. 

• The University of Rhode Island, Kingston, Rhode Island. 

• York University, Toronto, Canada. 

• Refocus, The University of Iowa, Iowa City, Iowa. 

• Lone Mountain State College, San Francisco, California. 

1977 

• Ryerson Polytechnic, Toronto, Canada. 

• San Francisco Art Institute, San Francisco, California. 

• Boston College of Photography, Boston, Massachusetts. 

• The University of Wisconsin, Madison, Wisconsin. 

1976 

• Edinboro State College, Edinboro, Pennsylvania. 

• Illinois Institute of Technology, Chicago, Illinois. 

• Festival d’Arles, Arles, France. 

• The Rhode Island School of Design, Providence, Rhode Island.


• Cranbrook Academy of Art, Bloomfield Hills, Michigan. 

• Art Academy of Cincinatti, Cincinatti, Ohio. 

• Colgate University, Hamilton, New York. 

• Ideas and Images Lecture Series, J.B. Speed Art Museum, Louisville, Kentucky. 

• Rochester Institute of Technology, Rochester, New York. 

• Ohio Wesleyan University, Delaware, Ohio. 

• Artists Talk on Art Series, New York City, New York. 

“Leftist American Artists in a Wave Pool Not Celebrating the Failure of Communism,1993.” From series: The Decline of the Left. 

1975 

• Smithsonian Institution, Washington, D.C. 

• Educational Alliance, New York City, New York. 

• Lake Placid Workshops, Lake Placid, New York. 

• State University of New York at Brockport, Brockport, New York. 

• The Mendocino Art Center, Mendocino, California. 

• The University of Missouri, Columbia, Missouri. 

• The Ansel Adams Workshops, Yosemite, California. 

• Tokyo College of Photography, Tokyo, Japan. 

• Southwestern College, Chula Vista, California. 

1974 


• St. Lawrence University, Canton, New York. 

1973 

• Imageworks, Cambridge, Massachusetts. 

• Apeiron, Millerton, New York. 

• Syracuse University, Syracuse, New York. 

• University of Kansas, Lawrence, Kansas. 

• Atlanta School of Art, Atlanta, Georgia. 

1972 

• Miami-Dade Junior College, Miami, Florida. 

• International Fund for Concerned Photographers, New York University, New York City, 

New York. 

• Imageworks, Cambridge, Massachusetts. 

• The Cooper Union Forum, New York, New York 

• Phoenix College of Art, Phoenix, Arizona.


• University of Colorado at Boulder, Boulder, Colorado. 


1971 

• University of Rochester, Rochester, New York. 

• Rochester Institute of Technology, Rochester, New York. 

• Moore College of Art, Philadelphia, Pennsylvania. 


1970 

• Pratt Institute, Brooklyn, New York. 


G R A N T S & A W A R D S 

“Need a Life?” Poster designed to promote Fine Arts Photography at Buffalo State College. 

• National Endowment for the Arts Fellowship, 1976, 1972, 1971. 

• Creative Artists Public Service Grant, 1975, 1973. 

• The Research Foundation of State University of New York Research Grant and Grant in 

Aid, 1971, 1970. 

• New York State Council on the Arts Grant, 1971.


“Say Niet!” Poster designed to promote Fine Arts Photography at Buffalo State College. 

“Is This Guy a Dick Or What?” Poster designed to promote Fine Arts Photography at Buffalo State College. 

END.

VITA LES KRIMS - Buffalo State College

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